Samantha Roth at Tyler Park Presents


Rendered in coloured pencil on black-gessoed paper, Samantha Roth’s drawings exude the dim luminance and irrational spatiality of X-rays and somniferous visions, evoking the eerie, unmoored feeling of days and puts melting in combination all over Covid-19 lockdowns. Within the seven semiautobiographical items right here, the artist meanders via her pandemic reflections, ceaselessly veering into non-public quirks in an effort to unpack the obsessive, voyeuristic, and paranoiac inclinations that surfaced for such a lot of people all over greater than two years of isolation. Her display’s name, “Duplex,” now not best refers to the kind of house she lives in, but in addition emphasizes the interaction between darkness and light-weight, between concealment and revelation inside of this imagery.

In Head to Head, 2021, Roth imagines a radiographic view via her bed room and into her neighbor’s living. The layered transparencies of jumbled furnishings intermingling throughout separate residences put across a portentous but fairly comical temper of misunderstanding and dysfunction. Furthering this narrative of impracticable need for faraway interplay, Eavesdropper, 2021—a drawing aptly displayed by myself in a tiny chamber—options the titular topic urgent their higher frame in opposition to a wall as a phantasmal arm materializes in the back of the determine, ostensibly looking to include them.

Tensions between transgression and tenderness are particularly pointed in Cactus Smuggler (Nail Document), 2022. Right here, the topic insouciantly grooms her fingernails whilst hiding about two dozen plant cuttings underneath her clothes, in moderation taped to her frame. In step with the artist, this piece was once impressed by means of pangs of self-identification in studying information articles a few spate of plants traffickers. In those tales, Roth identified her personal penchant for sometimes snitching succulent clippings to fill out her lawn. As in different drawings, she modeled the determine after herself, but not noted distinguishing options to go away the thief’s id open-ended.

Alluding to the artifice in the back of those quasi-confessional stagings, Two, To, Too, 2022, portrays a flat record with a number of drawers tantalizingly ajar, revealing peeks of paper mask, doodles of cats, cactus cuttings, and the artist’s scribbled signature—simply sufficient element to permit inquisitive audience to fill within the gaps with fancy, as an eavesdropper would.